Librivox Free Audio
Metropolitan Museum
Cleveland Museum of Art
Internet Arcade
Console Living Room
Books to Borrow
Open Library
TV News
Understanding 9/11Grateful Dead Live at Monterey Fairgrounds on 1967-06-18
Audio With External Links Item Preview
Cold Rain And Snow, Viola Lee Blues
Alligator > Caution (Do Not Stop on Tracks)
Note: Deadlists indicates that Alligator/Caution may NOT be from this date. See that discusion for additional details.
Monterey International Pop Festival - Other artist(s): The Blues Project, Big Brother & The Holding Co.; The Byrds;The Band With No Name; Stephen Stills David Crosby Richie Furay Doug Hastings Dewey Martin; The Who, Jimi Hendrix The Mamas & The Papas.
Related Music question-dark
| Song Title | Versions | Compilations | Covers |
|---|---|---|---|
| Viola Lee Blues |
|
|
|
| The Beatles aren't here"* |
|
|
|
| Tuning > |
|
|
|
| Cold Rain and Snow |
|
|
|
| Alligator > |
|
|
|
| Caution (Do Not Stop on Tracks) |
|
|
|
| Bill Graham outro** |
|
|
|
Notes
This is a previously uncirculated source for this show and in comparison to the prior
most recently circulated source (etree.org - http://db.etree.org/shninfo_detail.php?shnid=19586)
offers us the following:
- a known lineage without a stated cassette generation (or the uncertainty of one)
- a couple of additional minutes of between tunes banter and stage announcements and most importantly,
- an improved fidelity. Noteworthy, are a more complete Bill Graham outro following Caution and the right and left
channels remaining intact from the transfer as they appear to be reversed on the prior circulating source.
Also, tracks are now all at the correct pitch vs. being a semitone flat on earlier circulating sources.
Track editing, pitch correction, minor edits and sector boundary correction and verification done by Seth Kaplan
(alligator69@optonline.net) via CDWAV, Cool Edit 2k and Traders Little Helper, respectively. Entire
show was pitch corrected up one half step via Cool Edit 2k and Apple GarageBand.
* Emcee on "The Beatles aren't here" is apparently NOT Tommy Smothers as previously indicated in notes to the prior most
recently circulating source of the Dead's set at Monterey Pop. The emcee is currently stated to have actually been Peter
Tork of The Monkees who MC'd at the festival and whose voice on audio was compared to that of Tork introducing Buffalo
Springfield on the outtakes disc of "The Complete Monterey Pop Festival" DVD and determined to be a match. (Source: Billy K.
at etree.org - http://db.etree.org/shninfo_detail.php?shnid=19586)
** With regards to the Alligator > Caution potentially non-Monterey source issue noted on Deadlists and quoted below, it
appears that the additional Bill Graham outro segment in addition to comparative listening across multiple selections
serves to support the notion that this part of the tape is indeed from Monterey due to both its stated content and from
consistency with the other material in terms of general ambience, audience sound and unique sonic characteristics appearing
throughout all of the material. First off, on the earlier source(s) Bill Graham's voice trails off half way through his
opening remark after Caution, loosely interpreted by Deadlists below. The new source doesn't trail off and he can basically
be heard to say, "Let's go just one more time, let's hear it again, The Grateful Dead", perhaps indicating this as a
possible ending to an encore. Furthermore, he continues on with a few more lines, the most informative of which is:
"When they talk about those peace talks this week, they should come out here first for a couple of days." Preceding this
statement he specifically names the following individuals who were in fact, then recent and upcoming peace talk participants:
President Lyndon B. Johnson/Israeli Prime Minister Levi Eshkol/Russian Premier Alexei Kosygin. According to Deadlists,
6/18/67 Monterey Pop was the last show played prior to 7/13/67. Graham's statement referencing "those peace talks this week"
likely refers to the well publicized upcoming Glassboro Summit Conference featuring Johnson and Kosygin scheduled later that
week for 23Ð25 June 1967, just five days after Monterey. A week before Monterey, the 1967 Arab-Israeli War, fought between
June 5 and June 10, 1967 had featured Eshkol as a key player in the peace negotiations and was an inspiration for the Glassboro
Summit talks between the U.S. and Russia. This, along with general consistencies amongst several sound factors, appear to support
Alligator > Caution as being from the same performance as the rest of the material featured within the tape.
From Deadlists (as of 07/10/2011):
Comments: Alligator > Caution may not be from Monterey. What makes me suspicious is that at the conclusion of Caution, Bill Graham
is heard to say something like "let's hear it for the Grateful Dead." Bill Graham was not the emcee at the Monterey Pop Festival,
so it's doubtful he would introduce the band from the stage. However, some folks have speculated that since Graham was in attendance
and a friend of the Dead, he might have done the intro and or the outro as a "guest emcee." The Alligator is a curiosity; it's a very
primordial version without vocals
Recordings: (50) SB. Cold Rain And Snow And Viola Lee Blues from master reel > 1 cassette generation > DAT > circulation; also Alligator
(without vocals) > Caution from master reels > DAT > circulation. Master recording source(s): 14inch Master Reel
Reviews
Subject: I Don't Remember It, but This is Pretty Lively
Like Country Joe I'd seen the Dead quite a few times in Golden Gate Park and at the Fillmore, but I never went to specifically see the Dead. I just went because me and friends used to drive around in Berkeley and SF a lot and we'd literally back into free concerts.
It took me years to dig the Grateful Dead because I didn't understand their music. One minute they'd be doing a jazzy psychedelic jam and the next minute a country tune. Then Pigpen would do Motown or the blues. I was used to performers getting up there and introducing their next number and what album they were pushing. Then you'd hear them explained what the song's origins were and blah blah blah. Then they would play the same style every song. I tended to like more variety of sound.
The GD used to talk with and to the audience more in those 1967 days, but by about 1971 they were done chatting us up. Many of their shows I attended were void of even the slightest introduction and there was very little audience interaction. They'd just get up and play. I always enjoyed the general informality of the GD.
Jimi Hendrix blew my mind. I just never knew you could do anything like that. If you can dig how out of it I was, I was there to see the Mamas and Papas. I thought they were great -- the real deal. I think I was the only one there that night that thought so.
After their set I went back across the street to the college, found my rolled up sleeping bag hidden under the junipers and fell soundly asleep.
Next morning I hitchhiked home to the East Bay Area and got a ride very quickly -- alla way to Berkeley, no less! Pretty lucky.
The sound on this recording is very good and I appreciate how it got cleaned up.
Subject: Location Location location
Aka-Demolition Derby!
The movie for the Festival is pretty cool.
A good look at the L.A art scene before it got too aware of itself.
probably the last time LA & SF would be gathered round.
Janis was all that for Monterey.
A nice release would be the Dead Sets for Monterey & Woodstock
THE BAND THAT TIME FORGOT.
Subject: Jerry does his George Harrison impersonation
Subject: -
Subject: Dead on Monterey
Subject: Another festival with the Dead absent in the video history
They could have stuck in Cold Rain and Snow.
Anyone know why none of their stuff made it onto the DVDs? What I found on youtube is unlistenable
Subject: sweet sound of history
Subject: NOT Mickey Dolenz?
I wonder if anyone taped the pre show jam with Hendrix, Townsend, Burdon, etc, and if its available anywhere?
Subject: Very nice to listen to this...
13,608 Views
23 Favorites
IN COLLECTIONS
Grateful Dead
Live Music Archive 
stream_only 
Uploaded by Matthew Vernon on
